Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Zambia and from Delhi.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1975.
I'm losing my edge.
To all the kids in Calgary and Delhi.
I'm losing my edge to the art-school Madrid kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Gerry Rafferty to the grunge kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Todd Terry. All the underground hits.
All the Association tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Steve Hackett record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Maleditus Sound,
The Associates,
Dennis Brown,
Joe Smooth,
the Sonics,
T. Rex,
Art Ensemble Of Chicago,
Nation of Ulysses,
Bootsy Collins,
The Detroit Cobras,
Warsaw,
Eyeless In Gaza,
Guru Guru,
Lou Reed,
John Holt,
Basic Channel,
The Motions,
Barry Ungar,
The Music Machine,
Outsiders,
The Move,
Ponytail,
Drive Like Jehu,
Technova,
Gary Puckett & The Union Gap,
Boz Scaggs,
Marshall Jefferson,
Zero Boys,
Nick Cave & The Bad Seeds,
Aural Exciters,
Kango’s Stein Massive,
Niagra,
June Days,
Prince Buster,
Dark Day,
Dual Sessions,
E-Dancer,
Captain Beefheart & His Magic Band,
Liaisons Dangereuses,
The Men They Couldn't Hang,
Eden Ahbez,
Rosa Yemen,
The Mighty Diamonds,
The Angels of Light,
Nirvana,
Mantronix,
Marcia Griffiths,
The Chocolate Watch Band,
The Index,
The Shadows of Knight,
The Red Krayola,
Marc Romboy vs. Booka Shade,
FM Einheit,
Agitation Free,
Nico,
The Five Americans,
Leonard Cohen,
The Kinks,
Robert Hood,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.